Interluding: Identifying practice methods for classical improvisation on the Violin
(2023)
author(s): Ruth Mareen
published in: KC Research Portal
How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert?
The objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces.
First, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.
Curating as graphic design research
(2022)
author(s): Sara De Bondt
published in: Journal for Artistic Research
In 2019, I curated and designed Off the Grid, an exhibition on post-war Belgian graphic design at Design Museum Gent. The show included public events (Design Museum Gent, 2019–20) and led to a publication (De Bondt, 2022), all of which have been elements of my practice-based doctoral research at KASK School of Arts and Ghent University.
Curating Off the Grid allowed me to define my own research area, namely the investigation of graphic design from a specific country and period. The process also raised broader questions around naming, authorship, and canon-formation, which in turn have enriched my practice as a designer and educator. The curatorial thus became a methodology that allowed me to bring the two sides — my historical research and my graphic design practice — together. In this article, I discuss my engagement with graphic design via the curatorial, and how the latter can be deployed for practice-based graphic design research in and beyond exhibition spaces.
Moving through Choreography – Curating Choreography as an Artistic Practice
(2021)
author(s): Marie Fahlin
published in: Stockholm University of the Arts (SKH)
The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.
Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’
Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.
The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.
The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
YEARNING TO CONNECT A Short Introduction to Music Curatorship
(2021)
author(s): Heloisa Amaral
published in: Research Catalogue
A presentation of the master elective With and Beyond Music combined with a description of own curatorial projects and the disclosure of findings of the research project Curatorship and Social Engagement, led by the lectorate Music, Education & Society.
Voyager's Record
(2018)
author(s): Paulina Brelińska
published in: Research Catalogue
Point of departure.
The exhibition "The Voyager's Record" refers to traveling as such a form of mobility, which results from the
internal need to see inaccessible, undiscovered, lost and mysterious places. Its title refers to the name of two
gold-plated disks - The Voyager Golden Record - which was placed in the 1970s on board of spacecraft
launched as part of the Voyager program. There were some specific recordings and photographs on these disks
that were supposed to show the life cycle of the human species on Earth to the extraterrestrial viewers. The
exhibition showing the latest works created by young artists figuratively refers to the untamed dreams of seeing
unknown lands and what is more the cosmos. Artists’ projects pay attention to the images and elements of
nature that interest them during their “expeditions” (expedition is translated as “mobility organized for a specific
purpose”). Such concept situates the artist in the position of a researcher/explorer who archives/documents
reality and nature for a specific purpose. These objects are deprived of the features of the “artifact” (translated as
“incorrect element of the scientific research result”). On the contrary, they become a specific scientific record
depicting life on Earth.
During the nineteenth century, when the ideological trend called romanticism was developing, the author of the
book “COSMOS. Alexander Humboldt's physical description of the world” noticed that nature is a constant
object of the discoverer's fascination. When observing the works of contemporary artists, the aforementioned
glorification of nature seems to be still super important. Humboldt wrote: "Children's joy at the sight of the
particular figures of the countries and the closed seas, as geographical cards show us; the desire to see the
constellations of the southern sky that are not on our firmament; images of palm and Lebanon cedars in the holy
scriptures; they are all things as an example cited, and which are capable of awakening in the young soul
unreasonable desire to see distant lands.”
1
The exhibition is a story about spiritual travels, as well as about feelings that accompany the search for one's
own nature. Staying in a state of suspension, properly distant from reality, very credible memorabilia arise -
telling a lot about the Earth itself. However, it is not so much its scientific portrait that is important but the
presentation of our planet from the perspective of the internal experiences of its inhabitants.
Paulina Brelińska
This exhibition is an island
(2017)
author(s): Kit Hammonds
published in: Journal for Artistic Research
Based around my catalogue essay for Yu-Chen Wang's exhibition 'Nostalgia for the Future' (Taipei Fine Art Museum and Centre for Chinese Contemporary Art, Manchester, 2016), I consider how exhibition narratives are formed. As an experiment in 'curatorial writing', the essay draws from the evolution of science fiction. The method is discussed as reflective rather than explanatory of the artist's practice.
Relationships Crafting - Reality Shaping: Conversations About Curatorial Tools
(last edited: 2025)
author(s): Anna Chrtková
This exposition is in progress and its share status is: visible to all.
Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Berger
Kunst i offentlig rom: Eilert Sundt vgs
(last edited: 2024)
author(s): Nina Björkendal
This exposition is in progress and its share status is: visible to all.
Arbeid som kunstkonsulent. På oppdrag av Agder Kunstsenter med VestAgder Fylkeskommune som byggherre ved Eilert Sundt videregående skole.
Ritual Domestiko
(last edited: 2022)
author(s): Rossana P. Mercado Rojas
This exposition is in progress and its share status is: visible to all.
Ritual domestiko is an ongoing performative artistic experimentation built with the purpose of curating/curing and be cured by using feminist practices and methodologies of collective work, (self) care and the possibilities of social media. RD proposes the possibility of healing (curator-healer) between pairs by performing daily rituals materialized in the daily publication in social media addressing what happens to us in each of our contexts. RD was born from the long friendship and artistic practice shared by Angélica Chávez-Cáceres and Rossana Mercado-Rojas, a long-standing relationship and in turn look for strategies to continue supporting each other and create/find new languages to curate "heal" each other despite and in response to the current situation of geographical distance.
Auto Curating
(last edited: 2017)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
Can “sound” be “exhibited” at all? Isn’t that a basic fallacy, given the nature of sound? In addressing these fundamental questions from a conceptual leaning, one needs to comprehend sound’s specific problem as a curatorial artifact. In the discourse of sound art curating, instead of the “sound object,” the perspective of the project suggests exploring the cognitive-associative thought processes triggered by the process of listening, drawing lines between the source of sound and the listener’s mind that apprehends it. The curatorial process intends to frame the open-ended experience of various fertile auditory situations exploiting sound’s subjective nature at the listener’s end.
A presentation of the master elective With and Beyond Music combined with a description of own curatorial projects and the disclosure of findings of the research project Curatorship and Social Engagement, led by the lectorate Music, Education & Society.open exposition comments (0)
Based around my catalogue essay for Yu-Chen Wang's exhibition 'Nostalgia for the Future' (Taipei Fine Art Museum and Centre for Chinese Contemporary Art, Manchester, 2016), I consider how exhibition narratives are formed. As an experiment in 'curatorial writing', the essay draws from the evolution of science fiction. The method is discussed as reflective rather than explanatory of the artist's practice.open exposition comments (0)
Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Bergeropen exposition comments (0)
Arbeid som kunstkonsulent. På oppdrag av Agder Kunstsenter med VestAgder Fylkeskommune som byggherre ved Eilert Sundt videregående skole.open exposition comments (0)
Can “sound” be “exhibited” at all? Isn’t that a basic fallacy, given the nature of sound? In addressing these fundamental questions from a conceptual leaning, one needs to comprehend sound’s specific problem as a curatorial artifact. In the discourse of sound art curating, instead of the “sound object,” the perspective of the project suggests exploring the cognitive-associative thought processes triggered by the process of listening, drawing lines between the source of sound and the listener’s mind that apprehends it. The curatorial process intends to frame the open-ended experience of various fertile auditory situations exploiting sound’s subjective nature at the listener’s end.open exposition comments (0)